Name
Ovsyankina Galina Petrovna
Scholastic degree
• Dr.Sci.Art
Academic rank
professor
Honorary rank
—
Organization, job position
Gertsen’s State Pedagogical University of Russia
Web site url
Articles count: 2
We investigate D. D. Shostakovich's opera “Gamblers”
is in the context of an intertext. In this opera, the psychological
drama develops; this complex artistic task is
solved largely thanks to masterful introduction of a
variety of intertextual links. “Gamblers” is an example
of recitative opera with an intense, “passionate” vocal
style and flexible technique ranging from secco to a
gushy accompagnato. The text directs melodic development
and intertextual links. The appeal to a method
of the intertextual analysis opens interaction between
“Gamblers” and their dialogue with musical classics
and other Shostakovich’s works. Own creativity and
the whole layer of classical works first of all acts as
donor texts: operas style bel canto, opera-buffa, D.
Verdi’s opera “La traviata”, Russian recitative opera –
A. S. Dargomyzhsky, N. A. Rimsky-Korsakov, M. P.
Mussorgsky, works by A. P. Borodin, P. I.
Tchaikovsky, and of painter and literary texts – P. A.
Fedotov, A. S. Pushkin, L. N. Tolstoy, F. M. Dostoevsky.
The intertextual artistic methods, enabled by
Shostakovich express a complex psychological content
The Article is devoted to substantial aspects of the Chinese piano concerts. As the carrier of sense, semantics is investigated. Examples of semantics are given from three program concerts: "Yellow River" Yin Chengzonga and creative group – Chu Wanghua, Liu Zhuang, Sheng Likhoun, Shi Shuchen and Xu Feysin, "The mountain wood" of Liu Dunan and "Beauty of spring" of Du Mingxin. One of important typological features of the Chinese piano concerts is caused by the appeal to model of the European classical tool concert in respect of interpretation of a form, performing structure, a role of the soloist tool, its ratio with orchestra, etc. All the composers initially sought to embody national musical contents in the European genre. It is implemented first of all through a semantic complex. Proceeding from hierarchy of the semantic importance, it can be classified as follows: 1) semantics of images of the nature, 2) semantics of sounding of national tools, 3) semantics of melodies, popular in the Chinese environment, 4) genre semantics, 5) semantics of means of musical expressiveness. Introduction of semantics to musical language bears communicative function. The important value had also that presence of a semantic range at the art text is natural to consciousness and art perception of the Chinese